Table Of ContentFRUIT CHAN’S
Durian
Durian
WENDY GAN
FRUIT CHAN'S
Duhan Durian
Hong Kong University Press thanks Xu Bing for writing the Press's name in
his Square Word Calligraphy for the covers of its books. For further
information see p. iv.
THE NEW HONG KONG CINEMA SERIES
Series General Editors
Ackbar Abbas
Wimal Dissanayake
Series Advisors
Chris Berry
Nick Browne
Ann Hui
Leo Lee
Li Cheuk-to
Patricia Mellencamp
Meaghan Morris
Paul Willemen
Peter Wollen
Wu Hung
• • • • •
Other titles in the series
John Woo's A Better Tomorrow
Karen Fang
Tsui Hark's Zu: Warriors From the Magic Mountain
Andrew Schroeder
Wong Kar-wai's Ashes of Time
Wimal Dissanayake
Wong Kar-wai's Happy Together
Jeremy Tambling
FRUIT CHAN'S
Durian Durian
Wendy Gan
# m * * 4 K *t
HONG KONG UNIVERSITY PRESS
Hong Kong University Press
14/F Hing Wai Centre
7 Tin Wan Praya Road
Aberdeen
Hong Kong
© Hong Kong University Press 2005
ISBN 962 209 743 X
All rights reserved. No portion of this publication may be reproduced
or transmitted in any form or by any means, electronic or mechanical,
including photocopy, recording, or any information storage or retrieval
system, without prior permission in writing from the publisher.
British Library Cataloguing-in-Publication Data
A catalogue record for this book is available from the British Library.
Secure on-line Ordering
http://www.hkupress.org
Printed and bound by Pre-Press Limited, Hong Kong, China.
Hong Kong University Press is honoured that Xu Bing, whose
art explores the complex themes of language across cultures,
n has written the Press's name in his Square Word Calligraphy.
This signals our commitment to cross-cultural thinking and the
distinctive nature of our English-language books published in
China.
"At first glance, Square Word Calligraphy appears to be nothing
more unusual than Chinese characters, but in fact it is a new
way of rendering English words in the format of a square so they
i*& resemble Chinese characters. Chinese viewers expect to be able
to read Square Word Calligraphy but cannot. Western viewers,
however are surprised to find they can read it. Delight erupts
when meaning is unexpectedly revealed."
— Britta Erickson, The Art of Xu Bing
Contents
Series Preface vii
Acknowledgments xi
t Introduction 1
2 Contexts: Independent Filmmaking and Hong Kong 11
Cinema
3 Contexts: Social Realism in Hong Kong Cinema 25
^ The Representation of the Mainland Chinese Woman 43
in Durian Durian
5 Durian Adrift: The Contiguities of Identity in Durian 59
Durian
vi CONTENTS
t The Prostitute Trilogy So Far 81
7 Conclusion 91
Notes 97
Filmography 103
Bibliography 107
Series Preface
The New Hong Kong cinema came into existence under very special
circumstances, during a period of social and political crisis resulting
in a change of cultural paradigms. Such critical moments have
produced the cinematic achievements of the early Soviet cinema,
neorealism, the "nouvelle vague," the German cinema in the 1970s
and, we can now say, the recent Hong Kong cinema. If this cinema
grew increasingly intriguing in the 1980s, after the announcement
of Hong Kong's return to China, it was largely because it had to
confront a new cultural and political space that was both complex
and hard to define, where the problems of colonialism were overlaid
with those of globalism in an uncanny way. Such uncanniness could
not be caught through straight documentary or conventional history
writing; it was left to the cinema to define it.
It does so by presenting to us an urban space that slips away if
we try to grasp it too directly, a space that cinema coaxes into
existence by whatever means at its disposal. Thus it is by eschewing
a narrow idea of relevance and pursuing disreputable genres like
viii SERIES PREFACE
melodrama, kung fu and the fantastic that cinema brings into view
something else about the city which could otherwise be missed.
One classic example is Stanley Kwan's Rouge, which draws on the
unrealistic form of the ghost story to evoke something of the
uncanniness of Hong Kong's urban space. It takes a ghost to catch
a ghost.
In the new Hong Kong cinema, then, it is neither the subject
matter nor a particular generic conventions that is paramount. In
fact, many Hong Kong films begin by following generic conventions
but proceed to transform them. Such transformation of genre is
also the transformation of a sense of place where all the rules have
quietly and deceptively changed. It is this shifting sense of place,
often expressed negatively and indirectly — but in the best work
always rendered precisely in (necessarily) innovative images — that
is decisive for the New Hong Kong Cinema.
Has the creative period of the New Hong Kong Cinema come
to an end? However we answer the question, here is a need now to
evaluate the achievements of Hong Kong cinema. During the last
few years, a number of full-length books have appeared, testifying
to the topicality of the subject. These books survey the field with
varying degrees of success, but there is yet an almost complete lack
of authoritative texts focusing in depth on individual Hong Kong
films. This book series on the New Hong Kong Cinema is designed
to fill this lack. Each volume will be written by a scholar/critic who
will analyse each chosen film in detail and provide a critical
apparatus for further discussion including filmography and
bibliography.
Our objective is to produce a set of interactional and
provocative readings that would make a self-aware intervention into
modern Hong Kong culture. We advocate no one theoretical
position; the authors will approach their chosen films from their
own distinct points of vantage and interest. The aim of the series is
to generate open-ended discussions of the selected films, employing
SERIES PREFACE ix
diverse analytical strategies, in order to urge the readers towards
self-reflective engagements with the films in particular and the
Hong Kong cultural space in general. It is our hope that this series
will contribute to the sharpening of Hong Kong culture's
conceptions of itself.
In keeping with our conviction that film is not a self-enclosed
signification system but an important cultural practice among
similar others, we wish to explore how films both reflect and inflect
culture. And it is useful to keep in mind that reflection of reality
and realty of reflection are equally important in the understanding
of cinema.
Ackbar Abbas
Wimal Dissanayake
Series General Editors
